英国文学史及作品选读教案 Lecture 14

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英国文学史及作品选读教学设计

英国文学史及作品选读教学设计一、教学目标通过本门课程的学习，学生应该能够达到以下几个方面的目标：1.掌握英国文学史的发展脉络；2.熟悉英国文学史上的重要作家、作品及其作品特点；3.能够对英国文学史上的不同时期、派别和作品进行分析和评价；4.通过选读英国文学史上的代表作品，提高英语语言的听、说、读、写能力和文学鉴赏能力。

二、教学内容1. 英国文学史的发展1.古英国文学–史前文学–盎格鲁-撒克逊时期文学–中古英语文学2.文艺复兴时期英国文学3.17世纪英国文学4.18世纪英国文学5.浪漫主义文学6.维多利亚时代文学7.现代主义文学8.当代英国文学2. 英国文学史上的重要作家、作品及其作品特点1. 古英国文学•《贝奥武夫》•《斯堪的那维亚之旅》•《贝里梅因》2. 文艺复兴时期英国文学•莎士比亚的戏剧•约翰·密尔顿的《失乐园》3. 17世纪英国文学•约翰·唐纳的散文•约翰·洛克的《人类理解论》4. 18世纪英国文学•亚历山大·蒲柏的诗歌•萨缪尔·约翰逊的散文和诗歌5. 浪漫主义文学•威廉·华兹华斯的诗歌•柯勒律治的《唐璜》•伯罗奔尼撒的《遗产》6. 维多利亚时代文学•狄更斯的小说•爱略特的小说7. 现代主义文学•詹姆斯·乔伊斯的小说•弗吉尼亚·伍尔夫的小说8. 当代英国文学•萨尔曼·鲁西迪的小说•伊恩·麦克尤恩的小说3. 选读作品•《失乐园》 - 约翰·密尔顿•《呼啸山庄》 - 柯勒律治•《悲惨世界》 - 雨果•《呼兰河传》 - 萧红•《理智与情感》 - 简·奥斯汀三、教学方法1.讲授法：教师通过课件、实物、绘画等形式展示并解析英国文学史上的重要作家、作品及其作品特点；2.朗读法：教师可以引导学生一起朗读英国文学史上的代表作品，让学生更好地理解和领略文学之美；3.群体讨论法：教师组织学生进行群体讨论，让学生针对某一时期的英国文学作品进行分析和评价，激发学生的思考和探究兴趣；4.阅读报告：教师可以要求学生选择一部自己感兴趣的英国文学作品进行阅读，并写出所选作品的主题、情节、人物，以及自己对其评价等内容。

英国文学史及作品选读教案 Lecture 14

Lecture 14The Modern Period (II)ⅠTeaching ContentModernism; the Stream of Consciousness; James JoyceⅡTime Allotment2 periodsⅢTeaching Objectives and Requirements1 Help the students know about modernism.2 Help the students know the characteristics of the novels of the Stream ofConsciousness.3 Help the students know clearly about James Joyce.ⅣKey Points and Difficult Points in Teaching1Modernism2 The Stream of Consciousness3 James JoyceⅤTeaching Methods and MeansLecture; Discussion; Multi-mediaⅥTeaching Process1 Modernism●Modernism is a general term applied retrospectively to the wide range ofexperimental and avant-garde trends in literature of the early 20th century, including Symbolism, Futurism, Expressionism, Imagism, Vorticism, Dada, and Surrealism, along with the innovations of the unaffiliated writers.●Modernism takes the irrational philosophy and the theory of psycho-analysis as itstheoretical base. It is a reaction against realism. It rejects rationalism which is the theoretical base of realism; it excludes from its major concern the external, objective, material world, which is the only creative source of realism; by advocating a free experimentation on new forms and new techniques in literary creation, it casts away almost all the traditional elements in literature such as story, plot, character, chronological narration, etc., which are essential to realism. As a result, the works created by the modernist writers can often be labeled as anti-novel, anti-poetry or anti-drama.(See Chang Yaoxin, 380-381)2 The Stream of consciousness●The tradition of the stream of consciousness can be traced to various sources. Theearliest attempt to concentrate the subject matter of fiction on the innerconsciousness of the c haracter can be found in Laurence Sterne’s Tristram Shandy.● Stream of Consciousness is a literary technique which was pioneered by DorthyRichardson, Virginia Woolf, and James Joyce. Stream of consciousness is characterized by a flow of thoughts and images, which may not always appear to have a coherent structure or cohesion. The plot line may weave in and out of time and place, carrying the reader through the life span of a character or further alonga timeline to incorporate the lives (and thoughts) of characters from other timeperiods. It was represented by James Joyce (Ulysses), Virginia Woolf (To the Light house, The Waves) and William Faulkner (The Sound and Fury).●Writers, who create stream-of-consciousness works of literature, focus on theemotional and psychological processes that are taking place in the minds of one or more characters. Important character traits are revealed through an exploration of what is going on in the mind.3 James Joyce (1882-1941)3.1 Life and achievements● James Joyce is an Irish novelist, noted for his experimental use of language in suchworks as Ulysses(1922) and Finnegans Wake(1939). During his career Joyce suffered from rejections from publishers, suppression by censors, attacks by critics, and misunderstanding by readers. From 1902 Joyce led a nomadic life, which perhaps reflected in his interest in the character of Odysseus. Although he spent long times in Paris, Trieste, Rome, and Zürich, with only occasional brief visit to Ireland, his native country remained basic to all his writings.“But when the restraining influence of the school was at a distance I began to hunger again for wild sensations, for the escape which those chronicles of disorder alone seemed to offer me. The mimic warfare of the evening became at last as wearisome to me as the routine of school in the morning because I wanted real adventures to happen to myself. But real adventures, I reflected, do not happen to people who remain at home: they must be sought abroad.”(From Dubliners)●Joyce’s life’s work was to write only and always about his hometown Dublin. Hetreated it in such a way that in fact he was writing about all of human experience.His works include Dubliners, The Portrait of an Artist as a Young Man, Ulysses, and Finnegans Wake.3.2 Comments on James Joyce●He was serious with both his thematic and technical concerns.◆In Thematic terms, he never forgot to promote spiritual freedom of his nativecountry with his writings. Irish nationalism features prominently in his work.The theme of Irish discontentment and struggle for freedom always appear asa clear narrative thread. Furthermore, he loves the common people. He findsthe great value in love and passion. He loves life itself and believes that love makes life worth living and makes man invincible. Finally, there is his preoccupation with art and its mission in life. All of his major works related to art and artist and their bearing on life.◆With regarded to his formal features, Joyce is noted for his frankrepresentation of reality. He embraces realism against romanticism. H e is outspoken on important social issues, and insists on portraying all the aspects of man—the good as well as the evil side. For him, characterization matters more than does plot. He is also well renowned for his adroit use of the stream-of-consciousness technique and his contribution to its subsequent popularity as an effective stylistic medium. In addition, Joycean language has always been a topic of immense interest to people. It is poetic, accurate, forceful, connotative, rhythmic, musical, picturesque, aptly polyglottic, and humorous beyond description.●By pushing both thematic and formal boundaries infinitely further back, he hasbecome “the writes’ writer” in literary history. His influence over the writers of his own and later generation can never be overstated.3.3 Discussion of “Araby”●In “Araby,” the allure of new love and distant places mingles with the familiarityof everyday drudgery, with frustrating consequences.◆Mangan’s sister embodies this mingling, since she is part of the familiarsurroundings of the narrator’s street as well as the exotic promise of the bazaar.She is a “brown figure” who both reflects the brown façades of the buildings that line the street and evokes the skin color of romanticized images of Arabia that flood the narrator’s head.◆Like the bazaar that offers experiences that differ from everyday Dublin,Mangan’s sister intoxicates the narrator with new feelings of joy and elation.His love for her, however, must compete with the dullness of schoolwork, his uncle’s lateness, and the Dublin trains. Though he promises Mangan’s sister that he will go to Araby and purchase a gift for her, these mundane realities undermine his plans and ultimately thwart his desires. The narrator arrives at the bazaar only to encounter flowered teacups and English accents, not the freedom of the enchanting East. As the bazaar closes down, he realizes that Mangan’s sister will fail his expectations as well, and that his desire for her is actually only a vain wish for change.●The narrator’s change of heart concludes the story on a moment o f epiphany, butnot a positive one. Instead of reaffirming his love or realizing that he does not need gifts to express his feelings for Mangan’s sister, the narrator simply gives up.He seems to interpret his arrival at the bazaar as it fades into darkness as a sign that his relationship with Mangan’s sister will also remain just a wishful idea and that his infatuation was as misguided as his fantasies about the bazaar. What might have been a story of happy, youthful love becomes a tragic story of defeat. Much like the disturbing, unfulfilling adventure in “An Encounter,” the narrator’s failure at the bazaar suggests that fulfillment and contentedness remain foreign to Dubliners, even in the most unusual events of the city like an annual bazaar.● The tedi ous events that delay the narrator’s trip indicate that no room exists forlove in the daily lives of Dubliners, and the absence of love renders the characters in the story almost anonymous. Time does not adhere to the narrator’s visions ofhis relationship. The story presents this frustration as universal: the narrator is nameless; the girl is always “Mangan’s sister” as though she is any girl next door, and the story closes with the narrator imagining himself as a creature. In “Araby,”Joyce suggests that all people experience frustrated desire for love and new experiences.ⅦReflection Questions and Assignments1. Self study Virginia Woolf.2. What is the function of Big Ben in Mrs.Dalloway?3. How does the bazaar experience become an epiphany for the boy in “Araby”?ⅧMajor References1 Abrams, M. H. ed. The Norton Anthology of English Literature, (6th edition),Norton: 1993.2 Baugh, Albert C. A Literary History of England. 1967.3 Drabble, Margaret.The Oxford Companion to English Literature. OxfordUniversity Press and Foreign language and Research Press, 1998.4 陈嘉.《英国文学史》. 北京：商务印书馆，1986.5 陈嘉.《英国文学作品选读》. 北京：商务印书馆，1982.6 侯维瑞. 《英国文学通史》. 上海：上海外语教育出版社，1999.7 刘炳善. 《英国文学简史》. 郑州：河南人民出版社，1993.8刘洊波. 《英美文学史及作品选读》（英国部分），北京：高等教育出版社，2001.9 罗经国. 《新编英国文学选读》. 北京：北京大学出版社，1997.10 孙汉云. 《英国文学教程》. 南京：河海大学出版社，2005.11 王佩兰等. 《英国文学史及作品选读》. 长春：东北师范大学，2006.12 王松年. 《英国文学作品选读》. 上海：上海交通大学出版社，2002.13 吴伟仁. 《英国文学史及选读》（第二册）. 北京：外语教学与研究出版社，1990.14 杨岂深，孙铢.《英国文学选读》. 上海：上海译文出版社，1981.15 张伯香.《英国文学教程》. 武汉：武汉大学出版社，2005.16 张伯香.《英美文学选读》. 北京：外语教学与研究出版社，1998.17 张定铨. 《新编简明英国文学史》. 上海：上海外语教育出版社，2002.。

英国文学史及作品选读课件 Lecture 1(09级)

2. Help the students know about Beowulf and its significance.
3. Help the students know clearly about Geoffrey Chaucer and his work The Canterbury Tales.
After the withdrawal of the Roman troops, England was soon invaded by three Germanic (Teutonic) tribes: the Angles, the Saxons and the Jutes.
By the 7th century some small kingdoms were combined into a United Kingdom called England (the land of Angles). Its people were called the English.
From 787, the English began to be troubled by bands of Danish Vikings.The great hero of the time was King Alfred the Great (849-901) of the Kingdom of Wessex in the south. It is to him that we owe much of the preservation of Old Anglo-Saxon Literature. Equally important is the fact that he started Anglo-Saxon Chronicle, a historical register of national events from dim past to his own age. The Anglo-Saxons were conquered in 1066 by the Norms from France. This is the end of

英国文学史及选读第二册课程设计

英国文学史及选读第二册课程设计课程简介本课程为英国文学史及选读第二册，是一门继续深化学生对英国文学发展历程及经典作品的理解和分析能力的高年级课程。

本课程旨在通过精选包括诗歌、小说、戏剧等不同体裁的英国文学经典作品，让学生从不同角度全面掌握英国文学的发展历程，学习各个时期的文学特色及其代表作品，深入研究各个经典作品的内涵与特点。

教学目标1.理解英国文学的发展历程。

2.了解英国文学在不同时期的文学特色及其代表作品。

3.掌握分析英国文学经典作品的方法和技巧。

4.培养学生的批判性思维和文学分析能力。

教学内容1.光辉时期：伊丽莎白时期的诗歌经典–《神曲》–《弗罗斯特的道路》–《戏剧中的理论》2.追求自由：浪漫主义和维多利亚时代经典小说–《呼啸山庄》–《简爱》–《自由的人》3.认知生命：现代主义小说和戏剧–《达拉斯买家俱乐部》–《加勒比海盗》–《23号春田大道》教学方法1.讲授法。

老师将在讲授课文的基础上，探讨文学作品的文化背景、时代特征、主题意义和写作技巧，并引导学生思考、交流和讨论。

2.分组讨论法。

根据学生的研究兴趣，老师将学生分为若干组，让学生在小组内交流和讨论文学作品，帮助学生更深入地理解课文。

3.分析法。

老师将通过分析文学作品的语言、结构和人物等因素，引导学生对文学作品进行分析，并强化学生的阅读技能和批判思维。

评估方式1.期末论文。

2.期末考试：闭卷笔试。

3.平时作业：包括阅读笔记、小组讨论、课堂出席。

参考书目1.《英国文学史及选读》第二册，主编：李华等。

2.O’Connell, B. (2016). Understanding EnglishLiterature: A Practical Guide. London: Routledge.3.Greenblatt, S. (Ed.). (2012). The Norton Anthologyof English Literature (9th ed., Vol. 2). New York:Norton.学生要求1.具备一定的英语阅读能力和基础写作能力。

英国文学史及作品选读教案Lecture 4(09级)

Lecture 4The 17th CenturyⅠT eaching ContentThe historical background and the literature of the 17th centuryⅡTime Allotment2 periodsⅢT eaching Objectives and Requirements1 Help the students know some information about the historical background andthe literary characteristics of the 17th century.2 Make the students know something about John Donne and Metaphysicalpoetry.3 Help the students have a good understanding of John Milton and the excerpt ofParadise Lost.4 Make the Ss know about John Bunyan.ⅣKey Points and Difficult Points in Teaching1 John Milton2 Paradise LostⅤT eaching Methods and MeansLecture; Discussion; Multi-mediaⅥT eaching Process1 A brief introduction of the 17th century1.1 Historical background●The 17th century was one of the most tempestuous periods in the history. Thiscentury witnessed at least two revolutions: puritan revolution (1640-1660) and glorious revolution (1688). Puritan revolution began with the calling of the Long Parliament by King Charles I and proceeded through two civil wars (1642-1648), the trial and execution of the king (1649), the republican experiments of Oliver Cromwell (1649-1653), and, ultimately, the restoration of King Charles II (1660).Because of these two revolutions, the political system in England underwent somewhat great changes.●Because of these two revolutions, the political system in England underwentsomewhat great changes. First, after the Puritan revolution there established a kind of military dictatorship under which the people suffered greatly. Second, after the glorious revolution, there brought to England a constitutional monarchy, within which the king’s power was greatly restricted and the revolution meant three things: the supremacy of Parliament, the beginning of modern England, and the final triumph of the principle of political liberty for which the Puritan had fought and suffered hardship for a hundred years.●The general features of the age are the transition and the spirit of doubt andscientific analysis. Transition here means the transition from the absolute monarchy to constitutional monarchy, the transition from agricultural to manufacturing, the transition of the state itself from organic garden to the joint stock company, the transition to modern society, and the transition of secularization.1.2 Literary characteristics(See Chang Yaoxin, 73-74)●The Puritans disapproved of the sonnets and the love poetry written in the previousperiod.●In 1642 the theatres were closed.●The Bible became now the one book of the people. The Puritan influence ingeneral tended to suppress literary art.●The most important poet was John Milton and there were two literary schools ofpoets, the school of Metaphysical and the school of Cavaliers (骑士派诗人) .●The prevalent mood that enveloped literary works was one of gloom, pessimism,decadence, and frivolity.2 Metaphysical Poets and Metaphysical Poetry2.1 Metaphysical PoetsThe group of poets, sharing some of John Donne’s poetic features, has been called ―Metaphysical Poets.‖Metaphysical poets tried to break away from the conventional fashion of the Elizabethan love poetry.●John Donne (1573–1631)◆As a poet, Donne was original and great.◆His poetry possessed a highly idiosyncratic quality revealing a peculiar,brilliant imagination at work, with a unconventional mode of perception and thinking, and the power of a mind.◆His type of poetry has been known as Metaphysical Poetry.●Other Metaphysical PoetsGorge Herbert (1593–1633), Andrew Marvell (1621–1678), Richard Crashaw (1612–1649), Henry Vaughan (1622–1695), Abraham Cowley (1618–1667), John Cleveland (1613–1658)2.2 Metaphysical poetry●The term ―metaphysical poetry‖is commonly used to name the work of the 17th–century writers who wrote under the influence of John Donne.● Metaphysical poetry is characterized by verbal wit and excess, ingenious structure,irregular meter, colloquial language, elaborate imagery, and metaphysical conceits and a drawing together of dissimilar ideas.●In general, metaphysical poetry has the following features: 1) The diction is simpleand echoes the words and cadences of common speech; 2) The imagery is drawn from the actual life; 3) The form is frequently that of an argument with the poet’s beloved, with God, or with himself.● Metaphysical poetry has gained new recognition because of their seriousness of art,their spirit of revolt, and their realism, and it has greatly influenced the modernist poetry of the 20th century.3 John Milton and his Paradise Lost3.1John Milton (1608-1674)●Is considered as the third greatest English poet after Chaucer and Shakespeare, andthe greatest to come out of the 17th century. He is the master of blank verse, the first to use blank verse in non-dramatic works.● Born into a pious wealthy Puritan family, having a supportive father and a culturedmother and enjoying the sweetest and the most sheltered period of adolescence of all● Was tutored privately and then educated at St. Paul’s School and Christ’s College,Cambridge University● At twelve, Milton wrote a poem, from which we can find him already a scholar inspirit:When I was yet a child, 当我还是小孩时，我不喜欢儿戏，No childish play 我只一心一意To me was pleasing; all my mind was set 认真地学习与实践Serious to learn and know, and thence to do 于大众有益的事情What might be public good; myself I thought 我想自己是为此而生的Born to that and, born to promote all truth, 为推进真理和正义而生的。

《英国文学选读》教案

《英国文学选读》教案第一章：概述1.1 课程目标让学生了解英国文学的基本概况和发展历程。

培养学生对英国文学的兴趣和阅读能力。

1.2 教学内容英国文学的起源和发展阶段。

英国文学的重要作家和作品。

1.3 教学方法采用讲座、讨论和阅读相结合的方式进行教学。

引导学生阅读经典英国文学作品，提升阅读理解能力。

1.4 教学评估课堂讨论和提问。

阅读作业和读书笔记。

第二章：文艺复兴时期2.1 课程目标让学生了解文艺复兴时期英国文学的特点和代表作品。

培养学生对文艺复兴时期英国文学的欣赏和理解能力。

2.2 教学内容文艺复兴时期英国文学的形成背景。

莎士比亚（William Shakespeare）的作品选读。

2.3 教学方法分析莎士比亚的作品，探讨其文学价值和历史意义。

引导学生进行角色扮演和剧本创作，体验文艺复兴时期的戏剧魅力。

2.4 教学评估剧本表演和创作。

Lecture 10 英国文学教案

●The second verse tells us that the glow of the lady’s face is nearly perfect. The shades and rays are in just the right proportion, and because they are, the lady possesses a nameless grace. This conveys the romantic idea that her inner beauty is mirrored by her outer beauty. Her thoughts are serene and sweet. She is pure and dear.
●The remaining lines of the first verse employ another set of enjambed lines that tell us that her face and eyes combine all that’s best of dark and bright. No mention is made here or elsewhere in the poem of any other physical features of the lady. The focus of the vision is upon the details of the lady’s face and eyes which reflect the mellowed and tender light. She has a remarkable quality of being able to contain the opposites of dark and bright.

《英国文学选读》教案

《英国文学选读》教案第一章：概述1.1 课程介绍本课程旨在通过阅读和分析英国文学的经典作品，使学生了解英国文学的发展脉络，感受英国文学的魅力，提高英语阅读和鉴赏能力。

1.2 教学目标通过本章学习，学生将了解英国文学的基本概念、发展历程和主要流派，为后续章节的学习奠定基础。

1.3 教学内容1.3.1 英国文学的起源与发展1.3.2 英国文学的主要流派1.3.3 英国文学的重要时期1.4 教学方法采用讲授、讨论和阅读相结合的方式进行教学。

1.5 作业与评估第二章：文艺复兴时期2.1 时代背景2.2 莎士比亚2.2.1 生平简介2.2.2 代表作品2.2.3 作品分析：《哈姆雷特》2.3 斯宾塞2.3.2 代表作品2.3.3 作品分析：《仙后》2.4 作业与评估第三章：启蒙时期3.1 时代背景3.2 约翰·洛克的《人类理解论》3.2.1 生平简介3.2.2 代表作品3.2.3 作品分析：关于知识的来源和范围3.3 丹尼尔·笛福3.3.1 生平简介3.3.2 代表作品3.3.3 作品分析：《鲁滨逊漂流记》3.4 作业与评估第四章：浪漫主义时期4.1 时代背景4.2 威廉·华兹华斯4.2.1 生平简介4.2.2 代表作品4.2.3 作品分析：《抒情歌谣集》4.3 简·奥斯汀4.3.2 代表作品4.3.3 作品分析：《傲慢与偏见》4.4 作业与评估第五章：维多利亚时期5.1 时代背景5.2 查尔斯·狄更斯5.2.1 生平简介5.2.2 代表作品5.2.3 作品分析：《双城记》5.3 夏洛蒂·勃朗特5.3.1 生平简介5.3.2 代表作品5.3.3 作品分析：《简·爱》5.4 作业与评估第六章：现代主义时期6.1 时代背景6.2 詹姆斯·乔伊斯6.2.1 生平简介6.2.2 代表作品6.2.3 作品分析：《尤利西斯》6.3 弗吉尼亚·伍尔夫6.3.2 代表作品6.3.3 作品分析：《到灯塔去》6.4 作业与评估第七章：当代文学7.1 时代背景7.2 威廉·戈尔丁7.2.1 生平简介7.2.2 代表作品7.2.3 作品分析：《蝇王》7.3 伊恩·麦克尤恩7.3.1 生平简介7.3.2 代表作品7.3.3 作品分析：《儿童的行为》7.4 作业与评估第八章：英国戏剧8.1 概述8.2 威廉·莎士比亚8.2.1 生平简介8.2.2 代表作品8.2.3 作品分析：《哈姆雷特》8.3 约翰·奥斯汀8.3.2 代表作品8.3.3 作品分析：《的意思》8.4 作业与评估第九章：英国诗歌9.1 概述9.2 乔治·戈登·拜伦9.2.1 生平简介9.2.2 代表作品9.2.3 作品分析：《曼弗雷德》9.3 阿尔弗雷德·丁尼生9.3.1 生平简介9.3.2 代表作品9.3.3 作品分析：《悼念》9.4 作业与评估第十章：英国小说10.1 概述10.2 简·奥斯汀10.2.1 生平简介10.2.2 代表作品10.2.3 作品分析：《傲慢与偏见》10.3 查尔斯·狄更斯10.3.2 代表作品10.3.3 作品分析：《双城记》10.4 作业与评估第十一章：英国散文11.1 概述11.2 弗朗西斯·培根11.2.1 生平简介11.2.2 代表作品11.2.3 作品分析：《论读书》11.3 约瑟夫·艾迪生11.3.1 生平简介11.3.2 代表作品11.3.3 作品分析：《闲散人的散步》11.4 作业与评估第十二章：英国童话与儿童文学12.1 概述12.2 简·奥斯汀12.2.1 生平简介12.2.2 代表作品12.2.3 作品分析：《爱丽丝漫游奇境记》12.3 路易斯·卡罗尔12.3.2 代表作品12.3.3 作品分析：《彼得潘》12.4 作业与评估第十三章：英国女性文学13.1 概述13.2 简·奥斯汀13.2.1 生平简介13.2.2 代表作品13.2.3 作品分析：《傲慢与偏见》13.3 勃朗特姐妹13.3.1 生平简介13.3.2 代表作品13.3.3 作品分析：《呼啸山庄》13.4 作业与评估第十四章：英国文学与历史的关系14.1 概述14.2 威廉·莎士比亚14.2.1 生平简介14.2.2 代表作品14.2.3 作品分析：《理查二世》14.3 托马斯·哈代14.3.2 代表作品14.3.3 作品分析：《德伯家的苔丝》14.4 作业与评估第十五章：英国文学与文化的交融15.1 概述15.2 乔治·奥威尔15.2.1 生平简介15.2.2 代表作品15.2.3 作品分析：《1984》15.3 阿兰·德波顿15.3.1 生平简介15.3.2 代表作品15.3.3 作品分析：《爱情的艺术》15.4 作业与评估重点和难点解析本文主要介绍了《英国文学选读》课程的教案，内容涵盖了文艺复兴时期、启蒙时期、浪漫主义时期、维多利亚时期、现代主义时期、当代文学、英国戏剧、英国诗歌、英国小说、英国散文、英国童话与儿童文学、英国女性文学、英国文学与历史的关系以及英国文学与文化的交融等十五个章节。

英国文学史及作品选读教学大纲

《英国文学史及作品选读》教学大纲一、课程说明1.课程代码：1070138212.总学时数：36 ，其中理论环节学时数：363.学分： 24.适用专业（注明本科、专科、高职）：本科5.本课程的性质、地位和作用本课程是面向英语专业高年级学生开设的专业基础课，在学科体系中居重要地位。

它既巩固提高学生的英语基础功，又能拓展和延伸其对深层语言和文化的理解表达能力。

二、教学基本要求1.本课程的目的、任务英国文学史及文学作品包含着历史的记忆和哲学的睿智，是英语语言艺术的结晶。

本课程的任务将介绍英国文学各个时期的主要文化思潮，文学流派，主要作家及其代表作，使学生对英国文学的发展脉络有一个大概的了解和认识，提高他们对文学作品的阅读鉴赏能力，并能掌握文学批评的基本知识和方法。

该课程的目的是通过阅读和分析英国文学作品，使学生了解英国的历史、社会、政治等方面的情况及传统，促进学生对西方文学及文化的了解，提高学生对文化差异的敏感性、宽容性，培养对作品的洞察批判能力，从而丰富提升学生人文素养。

2.本课程的教学要求：⑴．了解英国文学的发展概况，熟悉发展过程中出现历史事件，文学思潮，文学流派；⑵．熟悉具体作家的文学生涯，创作思想，艺术特色和所属流派；⑶．能读懂代表作家的经典作品，并能分析评介作品的主题思想，人物形象，篇章结构、语言特点、修辞手法、文体风格；⑷．能掌握文学批评的基本知识和方法，对重要的文学术语有相当的了解并能在文学批评中加以运用；3. 教学方法：本课程教学以课堂讲授、问答，讨论为主，并辅以口头报告，课后作业和原版电影欣赏。

课堂讲授力求以启发式教学培养学生对作品的感悟领受能力。

口头报告要求学生从相关文献和网络查寻英国文学知识，整理成文并在课堂陈述，课后作业以作品的赏析评介为主，以小论文形式完成。

三、学时分配四、大纲内容（一）教学大纲内容Part I Anglo-Saxon Period Beowulf (450-1066)【本章教学目的、要求】：帮助学生了解古英语诗歌的源泉及其韵律特点。

英国文学史及选读教案全套

英国文学史及选读教案全套教案一：英国文学史概述教学目标:1.了解英国文学史的发展背景和重要时期；2.了解英国文学史上的重要作品和作家；3.培养学生对英国文学发展和作品的分析能力。

教学内容:1.英国文学史的发展背景；2.英国文学史的重要时期和特点；3.英国文学史上的重要作品和作家。

教学步骤:Step 1: 引入教师介绍英国文学史的重要性和意义，并引导学生思考英国文学的特点和影响。

Step 2: 发展背景介绍英国文学史的发展背景，包括古代英国文学的影响，罗马和基督教的进入，以及中世纪和文艺复兴时期的文学发展。

Step 3: 重要时期和特点讲解英国文学史上的重要时期和特点，包括伊丽莎白时代，文艺复兴，浪漫主义，维多利亚时代和现代主义等。

Step 4: 重要作品和作家介绍英国文学史上的重要作品和作家，包括莎士比亚的戏剧，弥尔顿的《失乐园》，狄更斯的小说等。

Step 5: 分组讨论将学生分成小组，每组选取一个重要的时期或作家进行深入研究，并展示给全班。

Step 6: 总结和评价与学生一起总结英国文学史的重要内容和特点，并评价英国文学对世界文学的影响。

教案二：莎士比亚戏剧《哈姆雷特》的选读教学目标:1.了解莎士比亚戏剧的特点和艺术手法；2.理解《哈姆雷特》的情节和主题；3.培养学生对莎士比亚戏剧的分析和解读能力。

教学内容:1.莎士比亚戏剧的特点和艺术手法；2.《哈姆雷特》的情节和主题；3.对《哈姆雷特》的解读和分析。

教学步骤:Step 1: 引入教师引导学生思考莎士比亚戏剧的特点和影响，并激发学生的学习兴趣。

Step 2: 莎士比亚戏剧的特点和艺术手法讲解莎士比亚戏剧的特点和艺术手法，如诗意语言，人物描写和戏剧构思等。

Step 3: 《哈姆雷特》的情节和主题介绍《哈姆雷特》的情节和主题，包括主人公的复仇和道德困境等。

Step 4: 对《哈姆雷特》的解读和分析教师带领学生一起对《哈姆雷特》进行深入解读和分析，如人物形象，意象和隐喻等。

英国文学史及作品选读教案-Lecture-8(09级)

Lecture 8The Romantic Period (II)ⅠTeaching ContentGeorge Gordon Byron; Percy Bysshe Shelley; John KeatsⅡTime Allotment2 periodsⅢTeaching Objectives and Requirements1 Help the students understand George Gordon Byron.@2 Help the students have a good understanding of Percy Bysshe Shelley.3 Help the students have a good understanding of John Keats.ⅣKey Points and Difficult Points in Teaching1Percy Bysshe Shelley2 John KeatsⅤTeaching Methods and MeansLecture; Discussion; Multi-mediaⅥTeaching Process"1 George Gordon Byron (1788-1824) (For Self-Study)IntroductionByron’s best poems are Don Juan and Childe Harold. His other works include Hours of Idleness and English Bards and Scottish Reviewers… (See Wang Shouren,76 and Chang Yaoxin, 197-198).Comments on Byron●Byron’s poetry is one of experience. His heroes are more or less pictures of himself.His hero is known as “Byronic Hero”, a proud, mysterious rebel figure of noble origin. With immense superiority in his passions and powers, he would carry on his shoulders the burden of righting all the wrongs in a corrupt society. He would rise single-handedly against any kind of tyrannical rules either in government, in religion, or in moral principles with unconquerable wills and inexhaustible energies. For such a hero, the conflict is usually one of rebellious individual against out-worn social systems and conventions. The figure is, to some extent, modeled on the life and personality of Byron.● Byron insisted on authentic—and moral —nature of his work.●Byron’s poetry exerts great influence on the Romantic Movement. He stands withShakespeare and Scott among the British writers who exert great influence overthe mainland of Europe.(See Chang Yaoxin, 197)]Discussion of She Walks in Beauty(See the Textbook Selected Readings, 74-75)● It is a lyrical poem written in 1814 and published in 1815.●In June, 1814, several months before he met and married his first wife, AnnaMilbanke, Lord Byron attended a party at Lady Sitwell’s. While at the party, Lord Byron was inspired by the sight of his cousin, the beautiful Mrs. Wilmot, who was wearing a black spangled mourning dress. Lord Byron was struck by his cousin’s dark hair and fair face, the mingling of various lights and shades. This became the essence of his poem about her.(Discuss the questions in the Selected Readings.)● The first two lines bring together the opposing qualities of darkness and light thatare at play throughout the three verses. The remaining lines of the first verse tell us that her face and eyes combine all that’s best of dark and bright. No mention is made here or elsewhere in the poem of any other physical features of the lady.The focus of the vision is upon the details of the lady’s face and eyes which reflect the mellowed and tender light. She has a remarkable quality of being able to contain the opposites of dark and bright. The fourth line starts with an accented syllable followed by an unaccented one, rather than the iambic meter of the other lines, an unaccented syllable followed by an accented one. The result is that the word “Meet” receives attention, an emphasis. The lady’s unique feature is that opposites “meet” in her in a wonderful way.●The second verse tells us that the glow of the lady’s fa ce is nearly perfect. Theshades and rays are in just the right proportion, and because they are, the lady possesses a nameless grace. This conveys the romantic idea that her inner beauty is mirrored by her outer beauty. Her thoughts are serene and sweet. She is pure and dear.● The last verse is split between three lines of physical description and three linesthat describe the lady’s moral character. Her soft, calm glow reflects a life of peace and goodness. This is a repetition, an emphasis, of the theme that the lady’s physical beauty is a reflection of her inner beauty.、2 Percy Bysshe Shelley (1792-1822)Life and achievements(See Chang Yaoxin, 202-204)● Shelley is an idealistic and prophetic Romantic.● He sees life on the horizon and gives the vision a tangible form in his poetry.● He refuses to accept life as it is and tries to envision life as devoid of oppression,injustice, tyranny, and corruption current in the social life of his day.● He visualizes the birth of an ideal social order based on the regeneration of manand virtue of love. He made himself a kind of precursor to the socialist movement soon to sweep across Europe and England.Shelley’s Works<●Prometheus Unbound: a lyrical drama, Shelley’s masterpiece, most famous (SeeChang Yaoxin, 206-207)● His short lyrical poems◆ As for his lyrics on nature, the two best known ones are Ode to the West Wind(1819) and To a Skylark (1820). His other lyrics on nature are mainly Hymn of Apollo, The Cloud and To the Moon.◆Shelley’s love l yrics, numerous and widely known, including mainly L ove’sPhilosophy, I Fear Thy Kisses, Gentle Maiden, One Word Is Too Often Profaned and When the Lamp Is Shattered. In his love lyrics, Shelley regards love as the noblest thing in the universe, as the thing of extreme purity and as a feeling of devotion and worship. He believes that the noblest love in the human world may lead mankind to a state of harmony, happiness, peace and perfection. He advocates that love should be elevated high above the vulgar, practical attitude toward it.Comments on Shelley●Byron said of Shelley that he “was, without exception, the best and least selfishman I ever knew. I never knew one who was not a beast in comparison”.Matthew Arnold thought that Shelley’s character was t oo sensitive for a really great writer and called him a “beautiful and ineffectual angel, beating in the void his luminous wings in vain”. But Shelley was not ineffectual, and he was not so cut off from the realities of life as Arnold suggests.● Shelley has a shrewd and informed comprehension of the complexities of earthlylife. And his generous, unselfish personality also contained elements of sophisticated playfulness and good humor---he was not beyond laughing at himself.● Intellectually, he was an immensely learned and well-read man capable of morerefined and original philosophical thinking than any other English Romantic, including Coleridge. And as a poet, as Wordsworth said, “Shelley is one of the best artists of us all! Mean in workmanship of st yle.”~Discussion of Ode to the West Wind(Discuss the questions in the Selected Readings)● Motif of the poem: his desire for freedom and his resolution to sacrifice for thestruggle for freedom. To the poet, the west wind, powerful as it is, is not merelya natural phenomenon. It is a “spirit”, the “breath of Autumn’s being” that canspread messages of freedom far and wide that both destroys and preserves the revival in the spring. The west wind symbolizes rebirth and creative power. To some extent, the west wind is the symbol of revolutionary spirit.◆ Stanza I---The west wind has swept the foliages off the tree and carried seedsto the earth. She is both destroyer and preserver.◆ Stanza II---The west wind has awakened the sky. In this stanza, the west windis compared to the rainstorm that bursts out of the dark clouds.◆ Stanza III---The west wind has awakened the Mediterranean. The poet thinksthat the billow results from the trembling of the sea-blooms (trees) for fear of the coming west wind.◆ Stanza IV---I would have the same strength and free spirit as the west wind if Iwere brought up like him. Unfortunately, I was chained and bowed by the vicissitudes of life.◆ Stanza V---I wish we could unite to fight for a bright future. I want to spreadm y words among mankind. I’m optimistic about the future. If winter comes, can spring be far behind/● Images◆ Life images: seeds, spring, clarion, buds;◆ Death images: dead leaves, ghosts, hectic, pestilence, dark wintry bed, corps,grave.◆These life and death images on the one hand are associated with the twofunctions of the West Wind: destroyer and preserver, and on the other hand, remind us of resurrection and a cycle of life and death.3 John Keats (1795-1821)Life and achievements(See Chang Yaoxin, 207-210)●Keats was a person of singular determination. His imagination was sensual. Hewould like to be an Apollo, the god of poetry. He loved “the principle of beauty in all things” and was singularly adamant in his belief that there existed a world of eternal beauty somewhere more real than the life being lived here and it was his job to search for and create it.—● He had a sharp eye for colors and a keen ear for rhythms and a rare capacity tobring out the magic of words. He has been well known for the exquisite texture of his poetry, with its beautiful imagery, sound, and diction. His sole object in life was to look for beauty, and he was a pure poet. He was serious about life and never strove for art only for art’s sake.●He is also an influential literary theorist. His major ideas on poetry include hisnotions of “negative capability,” poetic identity and emphasis on the oneness of truth and beauty (Truth is beauty, beauty is truth).Keats’s major works● A short and miserable life as he has, Keats has produced voluminous literary works.He has written five long poems: Endymion, Isabella, The Eve of St. Agnes, Lamia, and Hyperion.◆Endymion (1818) is a poem of 4000 lines. The story is taken from Greekmythology, telling the romantic love story of between Endymion (a handsome shepherd of Mount Latmos) and the moon goddess Cynthia. It is often interpreted as an allegory representing the poet’s quest for an ideal feminine counterpart and flawless beauty.◆Isabella is based on a story in Decameron by Boccaccio. The poet retold thetragic love story between Lorenzo and Isabella. The poem expresses sympathy for the oppressed and indignation at human cruelty.◆Lamia takes its story from Burton’s Anatomy of Melancholy. Lamia is a serpentmaiden. She loves a young man named Lycius. They get married and hold their wedding banquet. Among their guests comes the sophist Apollonius who sees through Lamia’s disguise. Lamia asks Apollonius to keep it a secret, but Apollonius refuses. He reveals Lamia’s identity to the public. Then Lamia vanishes. It is obvious that this story is parallel to The Tale of the White Serpent in China. The emphasis is on the appreciation of sensuous beauty.◆The Eve of St Agnes is a young people’s poetic version of Romeo and Juliet,written in Spenserian stanzas, telling the story between the young maiden Madeline and her lover Porphyro). St Agnes is the patron saint of virgins. The poem is full of beautiful imaginary, rich colour and word music. Keat s’fondness for sensuous beauty and his ability to paint exquisite world-pictures find their best expression in his poem.`◆Hyperion is an unfinished long epic, regarded as Keats’ greatest achievementin poetry. It includes two fragments, Hyperion and The Fall of Hyperion. The poem describes a struggle for power in heaven. Keats wanted to convey in this poem that the victory of life and youth over the forces of decadence and retrogression is inevitable. The old order must give way to the new system—this is the eternal law of nature.● Keats has written many short lyrical poems, of which the odes and the sonnets arebest known. The odes are generally regarded as Keats’s most important and mature works. His odes include: Ode to Autumn, Ode to a Nightingale, Ode on Melancholy, and Ode on a Grecian Urn. His best known sonnets include: Bright Star, When I Have Fear, and The Grasshopper and the Cricket.Discussion of Ode to a Nightingale●In this poem, Keats not only expresses his raptures upon hearing the beautifulsongs of the nightingale and his desire to go to the ethereal world of beauty together with the bird, but also shows his deep sympathy for and his keen understanding of human miseries in the society in which he lived.● This poem expresses the contrast between the happy world of natural lovelinessand human world of agony.◆ At first, opiates and wine seems to be a way to transcend the human misery.◆At last poetry itself is seen the most effective way to release misery and toreach paradise. The bird’s song roused in the poet’s heart a form of spiritual homesickness, a longing to be at one with beauty.◆Keats manages to keep a precarious balance between mirth and despair,rapture and grief. Through the power of language, a world of beauty is visualized. But the excitement created through words is also subtly destroyed by them. The ultimate imaginative view evaporates in its extremity as the full associations of the last word “toll”the poet back from his near loss ofselfhood to the real and human world of sorrow and death. The title of F.Scott Fitzgerald’s Tender is the Night derives itself from this poem.(▼Stanza I—I was falling asleep after taking opiates when I heard a nightingale singing in the beechen forest.▼Stanza II—I’d like a cup of red wine to soothe my trouble.▼Stanza III—The nightingale was singing in ecstasy while I am suffering on earth.▼Stanza IV—I wish I could fly to the moon together with the nightingale.▼Stanza V—I realize that I was in a beautiful garden full of fragrant flowers.▼Stanza VI—The nightingale, regardless of my imminent death, kept singing in an ecstasy. Her melody was floating over the grassland aimlessly sinceher bosom friend cannot hear it any longer.▼Stanza VII—The nightingale’s melody has magical power to arouse the nostalgia of Ruth, a female in the Bible.▼Stanza VIII—The nightingale’s melody faded away, but I was still absorbed in it. I was half awake and half asleep.~ⅦReflection Questions and AssignmentsReflection questions1 In what way are nature and imagination related in Ode to the West Wind2 In Ode to a Nightingale, what images of sound, sight, smell, taste, or touchhave led you on a journey of the imagination back to some remembered past occurrence3 Comment on the epigram “beauty is truth, truth is beauty” in the Ode on aGrecian Urn.Assignments1 Read Ode on a Grecian Urn.2 Pre-read Jane-Austen.~3 Pre-read Pride and Prejudice in the Selected Readings.ⅧMajor References1 Abrams, M. H. ed. The Norton Anthology of English Literature, (6th edition),Norton: 1993.2 Baugh, Albert C. A Literary History of England. 1967.3 Drabble, Margaret.The Oxford Companion to English Literature. OxfordUniversity Press and Foreign language and Research Press, 1998.4 陈嘉.《英国文学史》. 北京：商务印书馆，1986.5 陈嘉.《英国文学作品选读》. 北京：商务印书馆，1982.6 侯维瑞. 《英国文学通史》. 上海：上海外语教育出版社，1999.·7 刘炳善. 《英国文学简史》. 郑州：河南人民出版社，1993.8 刘守兰. 《英美名诗解读》. 上海：上海外语教育出版社，2003.9 罗经国. 《新编英国文学选读》. 北京：北京大学出版社，1997.10 蒋洪新. 《英美诗歌选读》.长沙：湖南师范大学出版社，2004.11 隋刚.《英美诗歌意境漫游》.北京：外文出版社，1998.12 孙汉云. 《英国文学教程》. 南京：河海大学出版社，2005.13 王佩兰等. 《英国文学史及作品选读》. 长春：东北师范大学，2006.14 王松年. 《英国文学作品选读》. 上海：上海交通大学出版社，2002.15 王佐良. 《英国诗选》. 上海：上海译文出版社，1993.16 吴伟仁. 《英国文学史及选读》（第二册）. 北京：外语教学与研究出版社，1990.17 杨岂深，孙铢.《英国文学选读》. 上海：上海译文出版社，1981.18 张伯香.《英美文学选读》. 北京：外语教学与研究出版社，1998.19 张定铨. 《新编简明英国文学史》. 上海：上海外语教育出版社，2002.。

英国文学史及选读教案

英国文学史及选读教案教案标题：英国文学史及选读教案教学目标：1. 了解英国文学史的发展脉络和重要作品；2. 掌握英国文学史中的代表作品的主要内容和特点；3. 培养学生对英国文学的兴趣和欣赏能力；4. 提高学生的阅读理解和文学分析能力。

教学内容：1. 英国文学史的概述a. 古英国文学时期：《贝奥武夫》；b. 中世纪文学时期：《坎特伯雷故事集》；c. 文艺复兴时期：《哈姆雷特》；d. 18世纪文学时期：《傲慢与偏见》；e. 浪漫主义时期：《弗兰肯斯坦》；f. 维多利亚时期：《呼啸山庄》；g. 现代主义时期：《了不起的盖茨比》。

2. 选读文学作品a. 《贝奥武夫》：了解古英国文学的特点和文化背景；b. 《哈姆雷特》：分析莎士比亚的戏剧艺术和人物形象；c. 《傲慢与偏见》：理解18世纪英国社会和风俗；d. 《弗兰肯斯坦》：探讨浪漫主义文学的主题和风格；e. 《呼啸山庄》：了解维多利亚时代的社会背景和道德观念；f. 《了不起的盖茨比》：分析现代主义文学的特点和主题。

教学步骤：1. 引入：通过图片、音频或视频等媒体展示英国文学史的重要作品和作家，激发学生的兴趣和好奇心。

2. 概述英国文学史的发展脉络，介绍每个时期的特点和代表作品。

3. 分组讨论：将学生分成小组，每个小组负责研究和介绍一个时期的代表作品，包括作品的主要内容、作者的背景和创作意图等。

4. 选读文学作品：分配给学生不同的选读作品，要求他们在课后阅读，并写下自己的阅读感受和分析。

5. 小组分享：每个小组将自己选读的作品进行分享，包括对作品的理解和分析。

6. 教师点评和引导：对学生的分享进行点评和引导，帮助他们深入理解作品的主题和艺术手法。

7. 课堂讨论：就英国文学史的发展和选读作品展开全班讨论，鼓励学生发表自己的见解和观点。

8. 总结：对英国文学史的学习进行总结，回顾每个时期的特点和代表作品，强调文学对社会和历史的影响。

教学评估：1. 课堂参与度：观察学生的积极参与程度，包括讨论、提问和分享。

《英国文学选读》教案

《英国文学选读》教案一、教学目标1. 让学生了解英国文学的发展历程和重要作家及其作品。

2. 通过阅读和分析英国文学作品，提高学生的文学鉴赏能力和批判性思维能力。

3. 增进学生对英国文化和社会的了解，培养跨文化交际能力。

二、教学内容1. 英国文学的起源和发展历程2. 重要作家及其代表作3. 英国文学的主要流派和特点4. 文学作品的批判性分析方法5. 英国文化和社会背景知识三、教学方法1. 讲授法：讲解英国文学的发展历程、重要作家及其作品，介绍文学流派和特点。

2. 阅读法：学生自主阅读文学作品，提高文学鉴赏能力。

3. 讨论法：分组讨论文学作品，培养学生的批判性思维能力。

四、教学评估1. 课堂参与度：评估学生在讨论和提问中的表现，考察学生的积极性和主动性。

2. 阅读笔记：检查学生的阅读笔记，评估学生的文学鉴赏能力和批判性思维能力。

3. 文学评论：评估学生的文学评论写作能力，考察学生对英国文学的理解和分析能力。

五、教学安排1. 第一周：讲解英国文学的起源和发展历程，介绍重要作家及其代表作。

2. 第二周：学习英国文学的主要流派和特点，阅读经典文学作品。

3. 第三周：运用批判性分析方法，深入探讨文学作品的主题和意义。

4. 第四周：了解英国文化和社会背景知识，分析文学作品与时代背景的关系。

六、教学资源1. 教材：《英国文学选读》教材，提供全面的文学作品和背景知识。

2. 参考书目：提供相关的参考书目，供学生进一步阅读和拓展知识。

3. 网络资源：利用互联网查找相关的英国文学资源，如文学评论、作家生平介绍等。

4. 视听资料：播放相关的文学作品的朗读或电影改编，增强学生的直观感受。

七、教学活动1. 文学作品阅读：学生自主阅读教材中的文学作品，了解作品的情节和主题。

2. 课堂讨论：分组进行讨论，分享对文学作品的理解和感受，提出问题和建议。

3. 文学分析：运用批判性思维方法，深入分析作品的语言、形象、情节等方面。

5. 文学演讲：学生选择一部喜欢的文学作品，进行演讲，分享对该作品的理解和欣赏。

英国文学史及作品选读教案(09级) Lecture 10

Lecture 10The Victorian Period (I)ⅠT eaching ContentBrief introduction of the Victorian Age; Charles DickensⅡTime Allotment2 periodsⅢT eaching Objectives and Requirements1 Help the students have a good understanding of the Victorian Age history andits great achievements in novels.2 Help the students know clearly about Charles Dickens.ⅣKey Points and Difficult Points in Teaching1 Charles Dickens2 Oliver TwistⅤT eaching Methods and MeansLecture; Discussion; Multi-mediaⅥT eaching Process1 The Victorian Age (See Chang Yaoxin, 216-222)●Chronologically the Victorian period roughly coincides with the reign of QueenVictoria who ruled over England from 1837 to 1901, but it really began with the passage of Reform Bill in 1832 and closed at the end of the Boer War in 1902. All in all, the Victorian Age was a period of rapid growth, development, and reform.This period has been generally considered as one of the most glorious in the English history (the sun-never-sets empire).●The Victorian Age is usually subdivided into the following phases: the earlyVictorian Period (1832-1848), the Mid-Victorian Period (1848-1870), and late Victorian Period (1870-1902) (In social-political terms, it can be roughly subdivided into two phases: the first, beginning from 1832 through mid-century, the second, from 1870 to 1902.).●The Victorian Age was a period of rapid growth, development, and reform. It hasbeen generally considered as one of the most glorious in the English history (the sun-never-sets empire). It was on the whole one of transition from the past to the modern times, and one of radical change in values, institutions, and doctrines. It was an age of confusion and intellectual anarchy. Hope existed alongside dismay, and optimism was colored by anxiety.1.1 Historical background of the Victorian Age●In 1832 the Reform Bill was passed, which placed the power of the nation into thehands of the wealthy industrialists who would soon reconcile with the aristocracy and redouble their exploitation of the working people. Thus, after 1832, the conflict between labour and capital became sharper in the English political scene.This conflict resulted in the Chartist Movement (1836-1848), in which they demanded basic rights and better living and working conditions.●During the next twenty years, England settled down to a time of prosperity andrelative stability. The middle-class life of the time was characterized by prosperity, respectability, modesty and domesticity. Common sense and moral propriety, which were ignored by the romanticists, again became predominant preoccupation in the literary works.●But the last three decades of the century witnessed the decline of the BritishE mpire and the glory of the Victorian values. Beginning from the 70‟s, a sharpdecline occurred with economic depressions, agricultural failures, and the flooding of Australian wool and American wheat. Domestic balance of power, which used to be the Whigs and Tories, was also threatened with the growth of labour as a political and economic force. Class struggle was intensified in the last two decades of the 19th century.1.2 Ideology of the Victorian Age●Ideologically, the Victorians experienced fundamental changes. The rapiddevelopment of science and technology, new inventions and discoveries in geology, astronomy, biology and anthropology drastically shook people‟s religious convictions. Darwin‟s The Origin of Species (1859) and The Descent of Man(1871) shook the theoretical basis of the traditional faith. New scientific discoveries increased people‟s religious doubts and anxieties.●On the other hand, Utilitarianism (a hedonistic kind of philosophy, embracingUtility, or “the greatest happiness for the great number”as the sanction of morality, and spreading the belief that everyone was the best judge of his own interest) was widely accepted and practiced. Almost everything was put to the test by the criterion of utility, that is, the extent to which it would promote the material happiness. The Bible and the Evangelical Orthodoxy were regarded either as an outmoded superstition or tested by the principle of utility. Church service becamea form of instead of real devotion. This theory held a special appeal to themiddle-class industrialists, whose greed drove them to exploiting workers to the utmost and brought greater suffering and poverty to the working mass. (See Chang Yaoxin, 219)1.3 Literature of the Victorian Age●Victorian literature, as a product of its age, naturally took on its quality ofmagnitude and diversity. It was many-sided and complex, and reflected both romantically and realistically the great changes that were going on in people‟s life and thought. Great writers and great works abounded.◆In this period, the novel became the most widely read and the most vital andchallenging expression of progressive thought. Among the famous novelists of the time were the critical realists like Charles Dickens, William MakepeaceThackeray, Charlotte Bronte, Emily Bronte, Mrs. Gaskell (1810-1815) and Anthony Trollope (1815-1882), etc. An in the last few decades there were also George Eliot, the pioneering woman who, according to D. H. Lawrence, was the first novelist that targ eted “putting all the actions inside,” and Thomas Hardy. Although writing from different points of view and with different techniques, they shared one thing in common, that is, they were all concerned about the fate of the common people. They were angry with the inhumane social institutions, the decaying social morality as represented by money-worship and Utilitarianism, and the widespread misery, poverty and injustice.◆Prose and poetry are also produced in this period. Alfred Tennyson, RobertBrowning, the typical feature of whose poetry is dramatic monologue and Matthew Arnold—”the “Big Three” created memorable poetry.◆In addition to the trend of critical realism, there appeared other trends, such asAestheticism, represented by Oscar Wilde, who advocated the theory of “art for art‟s sake”, Pre-Raphaelite Brotherhood led by Dante Gabriel Rossetti.●Victorian literature, in general, truthfully represents the reality and spirit of the age.The high-spirited vitality, the down-to-earth earnestness, the good-natured humor and unbounded imagination are all unprecedented. In almost every genre it paved the way for the coming century, where its spirits, values and experiments are to witness bumper harvest.2 Charles Dickens (1812-1870)2.1. Life of Charles Dickens●Charles Dickens is the greatest representative of English critical realism and hewas called “the expression of the conscience of his age”.●He was born in a middle class family. His father was a clerk, but an extravagantspender and was thrown into prison because of debts. He once was a child labor and worked in a shoe-blacking factory. After his father was released, he was sent to school again. When he was 15, he worked as a lawyer‟s clerk. When he was 19, he became a reporter. When he was 21 he published first essay. Then he gradually became a successful writer. After his death he was buried at the poets‟ corner.●Dickens‟ career can be roughly split into two broad sub-periods: the first, from thebeginning through 1850 when he published Dombey and Son, in which he smiles;the second, from 1851 to the end of his life, in which he feels depressed.2.2 Major works of Charles Dickens and some comments on him2.2.1 Major worksThe Posthumous Papers of the Pickwick Club（匹克威克外传）; Oliver Twist （雾都孤儿）; Dombey and Son（董贝父子）; David Copperfield（大卫科波菲尔）; Hard Times（艰难时事）; A Tale of Two Cities（双城记）; Great Expectations（远大前程）(See Chang Yaoxin, 236-240)2.2.2 Some comments on him●The Dickensian world is almost Shakespearean. It is a world thronged with thediverse specimens of humanity. It is a world where the readers can get abird‟s-eye view of the panorama of English life then. The mood swings of his world are gauged in the way he pictures London.●The archetypal Dickensian hero or heroine is often an orphan or a child whoseparents though still alive, are as well as dead to them.●Dickens was essentially an intuitive artist. Spontaneity was his trade mark.●Dickens‟genius is basically comic. One notable feature of comic narratives is hisadroitness at creating the grotesque effect. Another notable feature of Dickens‟humorous narratives is the melodramatic.●Dickens is highly critical of his age. Social criticism is a hallmark of all his works.However, he does not mean to change the system. In the final analysis he is not a radical, neither is he revolutionary. He is a novelist with abundant faith in the goodness of human nature which he thinks is the basis of good life.2.3 Features of Charles Dickens’ novels●A tendency to depict the grotesque characters (His characters always have peculiarhabits, manners or behaviors) (such as Micawber)● Believing in social reforms to change the world, thus sometimes created unnaturalhappy ending for his novels● Delicate structure and plot (well-designed and attractive)●Good at depicting pathetic scenes to arouse sympathy● Good at using rhetorical devices to make his language vivid and humorous2.4 Discussion of Oliver Twist2.4.1 The story●Oliver Twist is born in a workhouse, and orphaned almost immediately. Themanagers of the workhouse abuse him and declare that he will amount to nothing.Eventually, Oliver is apprenticed out and runs away from the situation once the cycle of abuse and extreme want repeat themselves.●In his journey, Oliver meets the Artful Dodger, a seemingly nice boy who offershis assistance. Oliver is taken to a run-down house occupied by Fagin and his boys. There, Oliver is initiated into the rites of pickpocketing, theft, and petty crime. His first unwilling foray into the new profession is not a success, however, since Oliver is caught by the police and taken to court.●The victim of the pickpocketing, Mr. Brownlow, takes pity on him and takes himinto his own home to help the boy recover from an illness. Brownlow is strangely drawn to the boy. Oliver‟s old friends, including the murderous Sikes and the mysterious Monks, try to find the boy and remove him from his new surroundings.Oliver tries desperately to escape from Fagin and his group. During his adventures, he finds that his past is neither so hidden nor so shameful as he has been led to believe.”●It ends on a positive note with Oliver finding happiness under the care of alaw-abiding, wealthy family.2.4.2 Themes in Oliver Twist●Battle between good and evilBattle between good and evil is the primary theme in Oliver Twist. Dickens once wrote th at he “wished to show, in little Oliver, the principle of good survivingthrough every adverse circumstance, and triumphing at last”.To this end, the characters in the story tend to be rather single-dimensional, with a few exceptions, they are either very good or very bad. Characters like Oliver, Mr. Brownlow, and the Maylies are virtuous, and those like Fagin, Monks, and Sikes are evil.●The effect of British laws during the first half of the 1800s on the poorThe effect of British laws during the first half of the 1800s on the poor is the second theme. Reasoning that the enactment of “Poor Laws” would save much money on the care of the indigent, the government confined those mired in poverty in workhouses, where they were starved and mistreated with no avenue of redemption. These laws paradoxically resulted in the development of a seedy underground of crime, and rates of lawlessness soared.●AlienationAlienation is another theme that the story explores in depth. Each of the characters is alienated both from each other and society. As an orphan, Oliver is the stereotypical outcast, and, with the possible exception of Dick, the people in his life are only out for themselves. Although the good people in the story do share moments of community and trust, their numbers are small, and they are far outnumbered by their unscrupulous counterparts.●Poverty and social classPoverty is a prominent concern in …Oliver Twist.‟ Throughout the novel, Dickens enlarges on this theme, describing slums so decrepit that whole rows of houses are on the point of ruin. In an early chapter, Oliver attends a pauper‟s funeral with Mr.Sowerberry and sees a whole family crowded together in one miserable room.●Fate and Free WillSome characters in this novel are liberated and live happily ever after. Others aren‟t able to escape the “labyrinth” that the city, their social class, and the systems of justice and religion seem to have created. Certain characters seem to give up their free will at certain points, and to abandon themselves to a kind of bizarre fatalism. As much as Dickens wants to show how external influences turn people into criminals, the emphasis on fate in Oliver Twist seems to undermine that idea.2.4.3 Main characters in Oliver Twist●Oliver Twist- An orphan living at a workhouse (runs away early in the story)●Nancy- A thief/pickpocket, about 20 years old, grows fond of Oliver●Fagin- Head of the thieves/pickpocket, criminal mastermind, very evil●Artful Dodger- A thief/pickpocket, around 17-23 years old●Bill Sikes- A thief/criminal, associated with Fagin and his crew, is Nancy‟s“boyfriend”, very evil and very violent●Brownlow- A very kind and wealthy gentleman, mistakes Oliver for a thief, butlater finds out that he was wrong about Oliver and that Oliver is a sickly orphan and he brings Oliver to live with him●Mr. Monks- An extremely evil thief, O liver‟s half brother (but Oliver doesn‟t knowit until the end of the story), tries to get Oliver to commit a crime so that their father‟s fortune will go a ll to him●Mr. Bumble- Runs the workhouse parish with Mrs. Corney, who he marries in theearly-middle of the story. Mr. Bumble is very mean to the orphans that live at the workhouse●Mrs. Corney- runs the worhouse parish with Mr. Bumble, marries him in theearly-middle of the story, is very mean to the children at the workhouse, is a bitter woman2.4.4 Style●Shifting Narrative Voice◆Throughout the novel, Dickens employs a shifting narrative voice, as James R.Kincaid noted in Dickens and the Rhetoric of Laughter, “It is impossible to define the characteristics or moral position of the narrators in this novel, for they are continually shifting.” At times the narrator is detached and wordy, as in the opening paragraph in which he says abstractly that he will not name the town or workhouse where a certain “item of mortality” was born. At the same time, he is mocking the conventions of many novels of his time, which open with a lengthy and often smug description of the main character‟s birthplace and family.◆The narrator doesn‟t consistently stay in this remote but sarcastic voice butsometimes shifts to remarking ironically on the supposedly wonderful way in which the poor are treated and on how kind it is or sometimes the narrator appeals to the friendl y feeling of the reader: “We all know how chilled and desolate the best of us will sometimes feel.” As Kincaid noted, “We can never count on being in any single relationship with the narrative voice for long. Just as we relax. We are pushed away.”●Dark Humor◆The novel is filled with dark humor, from Mr. Bumble and Mr. Sowerberrylaughing about the abundance of small children‟s coffins to Dickens‟s mocking the seriousness and puffery of the members of the parish board, to his exposure of the cowardice and avarice of Noah and Charlotte, to the caperings of the Artful Dodger when he is put on trial.◆This humor only serves to sharpen the desperate sufferings of Oliver and theother characters, however, so that although readers may laugh while they are re ading the book, when they‟re done, they tend to remember the sadness in it.●Characterization◆Dickens uses “flat” characters; his people don‟t tend to grow or change overthe course of the book. Oliver, who begins good, stays good, and he never wises up; never once does he show any awareness that the thieves are truly evil or any real disgust at Fagin‟s life. He is afraid of the thieves, but he is afraid because they may hurt him, not because he is aware that they‟re twisted and corrupted souls. Fagin, who begins evil, stays that way. Many of the characters are easily marked by certain “tags” of behavior or voice: Mr.Grimwig habitually thumps his cane on the ground and asserts, “I‟ll eat my head!”Fagin is always out for money; Mr. Brownlow is steadfastly good;Monks is obsessively evil. Mr. Bumble is consistently pompous and shallow, and Noah Claypole remains a coward and a bully throughout the book.◆In modern fiction, characters like these are considered a mark of poor writing,but in Dickens‟s time, readers were not bothered by such flat depictions. In addition, because the novel was written as a serial that required readers to remember all the characters for a long period of time, it was necessary for writers to make their characters easy to remember and categorize.ⅦReflection Questions and Assignments1 What factors can explain the rise of novels as a dominant literary genre duringthe Victorian Age?2 Please talk briefly about Charles Dickens‟s literary career, and the mainfeatures of his works.ⅧMajor References1 Abrams, M. H. ed. The Norton Anthology of English Literature, (6th edition),Norton: 1993.2 Baugh, Albert C. A Literary History of England. 1967.3 Drabble, Margaret.The Oxford Companion to English Literature. OxfordUniversity Press and Foreign language and Research Press, 1998.4 陈嘉.《英国文学史》. 北京：商务印书馆，1986.5 陈嘉.《英国文学作品选读》. 北京：商务印书馆，1982.6 侯维瑞. 《英国文学通史》. 上海：上海外语教育出版社，1999.7 刘炳善. 《英国文学简史》. 郑州：河南人民出版社，1993.8刘洊波. 《英美文学史及作品选读》（英国部分），北京：高等教育出版社，2001.9 罗经国. 《新编英国文学选读》. 北京：北京大学出版社，1997.10 孙汉云. 《英国文学教程》. 南京：河海大学出版社，2005.11 王佩兰等. 《英国文学史及作品选读》. 长春：东北师范大学，2006.12 王松年. 《英国文学作品选读》. 上海：上海交通大学出版社，2002.13 吴伟仁. 《英国文学史及选读》（第二册）. 北京：外语教学与研究出版社，1990.14 杨岂深，孙铢.《英国文学选读》. 上海：上海译文出版社，1981.15 张伯香.《英国文学教程》. 武汉：武汉大学出版社，2005.16 张伯香.《英美文学选读》. 北京：外语教学与研究出版社，1998.17 张定铨. 《新编简明英国文学史》. 上海：上海外语教育出版社，2002.。

英国文学的PPT教案English literature in the Renaissance(14

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Economic background
• development of wool trade
↓
Enclosure Movement 圈地运动 (sheep devoured men)
↓
Rich merchants and craftsmen → bourgeoisie
↓
peasants →laborers in towns →proletariat
↓
Conflicts between the ruling and laboring classes
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Political background
• Feudalist relations →capitalism
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Religious background
• Catholic church (corruption, superstition) ↓
– His 12 eclogues represent the 12 months of the year and discuss themes of love, religion, poetry and others.
• The Faerie Queene (1580)
– His masterpiece dedicated to Queen Elizabeth
Religious reformation (Martin Luther) ↓
Henry VIII (1531) ↓
Church of England (Anglican church) 1534
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Henry 8 ( a Tudor Monarch)

英国文学史及作品选读教案 Lecture 14

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英国文学史及选读教案

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英国文学史及作品选读教案(09级) Lecture 10

英国文学的PPT教案English literature in the Renaissance(14

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